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In this exercise I'm going to introduce you to two more OpenType style variations, which are Swashes and Small Caps. Swashes are special cursive variations of characters that are sometimes useful at the beginning of sentences, if you want to add a little bit of flourish sometimes at the end of a word, generally not just in the middle of things. I am going to go ahead and change the D and Draft here to a swash by zooming in on it really tight, actually I might as well and I'll double-click in order to switch over to my Type tool. I'll go ahead and select the D and then I'll bring up the OpenType palette right here and I'll see that Swashes are not available to me.
So apparently they are not part of this font, which is true. They are not part of Adobe Caslon Pro Regular, but that's a separate font from Adobe Caslon Pro Italic. If I switch over to the italic variation, then you will see that Swashes are available to me and now I can click on Swash in order to create this more dramatic D here. All right, I'll go ahead and press the Escape key in order to switch back to my Black Arrow tool which will better allow me to scroll over here to the end, because I want to change it to a swash as well. Now another thing I want to show you is how Illustrator treats standard stylistic variations. Notice that I had to go up to that popup menu there in the Control palette. I'll do it again. I'll double-click in order to switch over to the Type tool. I'll select the N and I'm going up here to switch from Regular to Italic. Where is the Italic button inside the Character palette, for example? There is no Italic button, as you will see. You can't rotate a character fascinatingly enough, if you want to rotate this character 90 degrees independently of everybody else, you can do that. You have that kind of control, but you don't have am Italic button or a Bold button? No, you don't.
Let's go ahead and switch that back to Standard Orientation. Nor do you have keyboard shortcuts. So in just about every other application out there, Ctrl+Shift+I or Command+Shift+I in the Mac will get you the Italic Style, Ctrl+Shift+B or Command+Shift+B on the Mac will get you the Bold style. Not true inside of Illustrator. Ctrl+ Shift+I and Command+Shift+I, they go unused by default and Ctrl+Shift+B, Command+Shift+B as you may recall that hides and shows the bounding box. So you have to go up to the menu and you have to choose a command and you can only select from designer approved styles.
There is no such thing as a Faux Bold. Faux that is false Bold inside of Illustrator. You can't do a false Italic. So anyway, just something to know. So if you want to switch over to Italic, you choose it and then you go over to your OpenType palette here and you say I want to swash, baby, and that looks great. That's an ultra swash is what that is. All right, let's go ahead and zoom out from this document just a little bit here and move over to the F, I want to change it as well. So I'll go ahead and select that S, change it to Italic of course and then change it to a swash variation. Now just because the Swash button is available to you, doesn't mean that a swash is available for you. It's certainly was for that S, we have got quite the curly Q going on, but what about the P for example, just grab a random character, I could switch it to Italic and the OpenType palette will say yes we got swashes, we got you covered.
All that means is this specific font has swashes in it. It doesn't mean that this character has a swash variation and already it looks a little bit swashy, but watch if I click on Swash. It doesn't change at all. Same darn characters. So there is no variation for that guy. All right, so let's go ahead and press Ctrl+Z, Ctrl+Z, a couple of times in a row to get back to our standard upright regular P. All right, now let's take a look at Small Caps, notice this byline right here. I'll go ahead and zoom out from it a little bit by a daddy who care, I'm going to triple-click on that byline to select the entire thing and I could change for Small Caps which are just reduced capital letters, right? I could just switch these letters to All Caps and then make them smaller, and again that's the way we used to have to do in the old days. Adobe was the first font provider that I know of that actually would provide separate small cap fonts that you could use.
So in addition to your Adobe Caslon for example, you would have Adobe Caslon Regular and Italic and Bold and Small Caps. That would a separate font. That would be provided to you as a style variation. Now thanks to OpenType technology, you can build Small Caps into the font and Adobe Caslon Pro not surprisingly includes Small Caps, includes reduced capital letters. You don't however get to them, even thought they are an OpenType variation, you don't get to them from the OpenType palette for whatever reason. You will see there is no small cap here. Instead you go over to the Character palette and actually I know the reason they put it here. They put it here because you can choose Small Caps for fonts that don't have Small Caps in which case you will just get reduced capital letters. So I'm going to go ahead and choose Small Caps however and in our case we definitely get some nice letters going on, some nice hefty letters.
Again, I'll go ahead and press the Escape key here, actually I'm going to make a little modification right there, I just went ahead and entered a space character and then deleted that space character in order to reset the text because it's actually double colored. It has white and black and they get out of sync with each other sometimes. All right, so now I'm going to switch back to the Black Arrow tool and I'm going to zoom in and you can see that these letters have heft. So if we were to have created capital versions of these letters and then reduced their size then they would be light by comparison to the text around them. Their stems would be lighter, their serifs would be lighter and so on because they would be smaller characters.
Instead we have thicker stems and serifs that are designed to match those of the standard letters around them. All right, so I'm going to go ahead and zoom out from this document so that we can take in more of the document at a time. Hide that Character palette as well I think. In the next and final exercise of this chapter, we are going to take a look at the Glyphs palette, which as you will see is just amazing.
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